Tonight, I was pleasantly surprised. No, scratch that. I was absolutely ecstatic when I decided to follow through on my plan for the day instead of bailing out of it.
I woke up dead tired this morning. Not a little tired, which I'm accustomed to (this is the nature of night owls whose brains won't shut off), but -I could have slept through next week- tired. I was going through the day, keeping myself constantly busy as a way to stave off narcolepsy, and started to wonder whether I could make it through the night. Boy, am I glad that I stuck it out.
I met my fabulous friend Rachel down at the Public Theater for Dougal Irvine's Departure Lounge, a new musical playing there as part of the Summer Play Festival. I've said this before, but I'll say it again. For the record:
I am usually not a fan of musicals.
In fact, once upon a time, I would do anything that I could to avoid them. However, after delighting in, cackling loudly at, and wondering if I could take a look at the book and lyrics-
PLEASE NOTE: I HAVE NEVER, EVER WONDERED ABOUT A MUSICAL'S LYRICS, AND I'M A WRITER!
-I realized that I was caught up in the rapture that is Departure Lounge.
Now, I won't go into any detail about what I thought of the production because none of the Summer Play Festival shows are open for review, but I have to say that I went crazy over it.
My friend and I had a good ole' rocking time.
I will also say that I was tickled raw about seeing Nick Blaemire in action. Returning to the festival from playing Chris in Joe Iconis' The Black Suits last year, Blaemire went from assuming a character with a family struggling to make something of himself to a character without a family struggling to realize that he already became something. His character Pete in Departure Lounge is not a complete break from his SPF predecessor, but Blaemire is making some good moves. I'm keeping my eye on this one.
So, a musical said "Ha!" to me tonight. "Ha!", as in, you really can enjoy me if you allow yourself. It's not that this is the first musical that I've ever been entertained by. There have been others, particularly in the not so distant past. But I wasn't expecting to find this kind of gem tonight. Especially since I almost skipped it.
I may not have gotten some early shut-eye, but definitely no remorse and no regrets.
Wednesday, July 29, 2009
Saturday, July 25, 2009
Passion where you least expect it
This afternoon, I arrived at the 3pm showing of Tender (Summer Play Festival) with only a few minutes to spare. There were seats spread out sporadically in the theater, but I saw a few empty ones near an elderly couple in the front row that I couldn't resist.
I wasn't prepared for the experience that I was about to have.
I was about to see passion in two distinct, but beautiful forms.
As the 75-minute drama by Nicki Bloom progressed, the elderly man was alternating between whispering choice lines from the dialogue to his wife (she was hard of hearing) and paraphrasing what the characters were saying to one another.
At least, he thought he was whispering.
His words were audible enough to the point where I almost got annoyed, but then I realized something else was happening besides the disturbance of my focus on the piece. I was watching tenderness at work in the audience along with tenderness on stage.
This man was taking the time to be the ears for his wife. He wasn't able to feed her all of the information (I'm quite certain that a few people behind us might have hoisted him out of there if he tried), but he gave her enough to get the gist of what was going on. He never got impatient even when his wife wanted more than his hushed tone would allow. He simply restated what was said, cradling her head with his hands and speaking into her ear with a gentleness that it seemed many years between them must have forged. It was understated, but to me, that was passion for her.
The other passion was the one they both seemed to have for theater. Why else would they come when the wife would have trouble understanding what was going on, and the husband, our charming interpreter, would fall asleep from time to time? It made me smile.
At the end of the show, the husband stood up to help his wife to her feet, and stumbled on the steps instead. It was a harrowing few seconds when I was afraid that he might go down, but there she was, catching his fall like he had caught her enjoyment of the play. Her words of concern spoke passion for him.
Here I thought I was just going to be enjoying an afternoon in theater. Instead, I got a lesson in love and a reminder about the importance of creating and producing drama. Isn't it grand when you get more than you anticipated?
I wasn't prepared for the experience that I was about to have.
I was about to see passion in two distinct, but beautiful forms.
As the 75-minute drama by Nicki Bloom progressed, the elderly man was alternating between whispering choice lines from the dialogue to his wife (she was hard of hearing) and paraphrasing what the characters were saying to one another.
At least, he thought he was whispering.
His words were audible enough to the point where I almost got annoyed, but then I realized something else was happening besides the disturbance of my focus on the piece. I was watching tenderness at work in the audience along with tenderness on stage.
This man was taking the time to be the ears for his wife. He wasn't able to feed her all of the information (I'm quite certain that a few people behind us might have hoisted him out of there if he tried), but he gave her enough to get the gist of what was going on. He never got impatient even when his wife wanted more than his hushed tone would allow. He simply restated what was said, cradling her head with his hands and speaking into her ear with a gentleness that it seemed many years between them must have forged. It was understated, but to me, that was passion for her.
The other passion was the one they both seemed to have for theater. Why else would they come when the wife would have trouble understanding what was going on, and the husband, our charming interpreter, would fall asleep from time to time? It made me smile.
At the end of the show, the husband stood up to help his wife to her feet, and stumbled on the steps instead. It was a harrowing few seconds when I was afraid that he might go down, but there she was, catching his fall like he had caught her enjoyment of the play. Her words of concern spoke passion for him.
Here I thought I was just going to be enjoying an afternoon in theater. Instead, I got a lesson in love and a reminder about the importance of creating and producing drama. Isn't it grand when you get more than you anticipated?
Wednesday, July 22, 2009
Sue Jean Kim has a stalker!
And that stalker is me. I admit it.
But she won't get any threats of violence or creepiness from me. Just hurrays!
A couple of weeks ago, I watched as Sue Jean Kim played an unassuming but astute, shy but passionate, long-suffering character named Emma in Julia Cho's latest, The Language Archive (Eugene O'Neill Theater Center's Playwright's Conference). There were parts of this piece that stirred something awake deep within me, and moved me to tears. Kelly Hires and I sat next to each other, both shedding water, but pretending not to. We were tough critics, after all!
As I pondered what this special something was, I realized that all of it was wrapped up in Sue Jean Kim's performance. I was impressed by this young lady, and wanted to see more of her work.
I didn't have to wait long.
Upon returning to New York, I quickly embedded myself in theater, theater, and nothing but theater news to find out what was happening and what I missed while I was tucked away in Connecticut. That's when I came across the 6th annual Summer Play Festival Lineup at the Public Theater. I don't know if I was attracted by all the talk about love or what, but the blurb for Ken Urban's The Happy Sad grabbed me immediately. It was hook, line and sinker soon afterwards when I noticed that Sue Jean Kim was in the cast.
After watching The Happy Sad, I can honestly say that I have now seen two very different sides to Kim. Whereas Emma was content with flying under the radar, her current character Alice, a brazen lesbian with a good heart, is smack in the middle of the radar's sights. It was fascinating to see Kim go from lovelorn to kiddie porn within a matter of weeks.
I say hurray for her spicy turn! I think I'll be keeping a watchful eye on this one. In a raging sea of New York actors, she's hanging ten with the tide.
Okay, again, metaphors that I absolutely know nothing about. Where do I come up with them??
But she won't get any threats of violence or creepiness from me. Just hurrays!
A couple of weeks ago, I watched as Sue Jean Kim played an unassuming but astute, shy but passionate, long-suffering character named Emma in Julia Cho's latest, The Language Archive (Eugene O'Neill Theater Center's Playwright's Conference). There were parts of this piece that stirred something awake deep within me, and moved me to tears. Kelly Hires and I sat next to each other, both shedding water, but pretending not to. We were tough critics, after all!
As I pondered what this special something was, I realized that all of it was wrapped up in Sue Jean Kim's performance. I was impressed by this young lady, and wanted to see more of her work.
I didn't have to wait long.
Upon returning to New York, I quickly embedded myself in theater, theater, and nothing but theater news to find out what was happening and what I missed while I was tucked away in Connecticut. That's when I came across the 6th annual Summer Play Festival Lineup at the Public Theater. I don't know if I was attracted by all the talk about love or what, but the blurb for Ken Urban's The Happy Sad grabbed me immediately. It was hook, line and sinker soon afterwards when I noticed that Sue Jean Kim was in the cast.
After watching The Happy Sad, I can honestly say that I have now seen two very different sides to Kim. Whereas Emma was content with flying under the radar, her current character Alice, a brazen lesbian with a good heart, is smack in the middle of the radar's sights. It was fascinating to see Kim go from lovelorn to kiddie porn within a matter of weeks.
I say hurray for her spicy turn! I think I'll be keeping a watchful eye on this one. In a raging sea of New York actors, she's hanging ten with the tide.
Okay, again, metaphors that I absolutely know nothing about. Where do I come up with them??
First Impressions: Mark Charney
Alright, I have to dedicate a post to the Charn. The Charn deserves a novel for all that I'd like to say about him, but I'll only give him a few paragraphs here.
Mark Charney was our administrator at the Eugene O'Neill Theater Center. He collected our assignments every morning at 8:15am, and lambasted us gently (if such a thing could be done gently) when we submitted them a minute or so after the deadline. He was in charge of getting copies made of our odious, I mean outstanding, reviews.
One day when I was at my personal worst, he served as one of our mentors. Our homework was to use five adjectives in our whole review. Not only did I exceed the number by four or so, but I also managed to be a bit incoherent. Mark did have one nice thing to say. He said, and I concur, that I had done some pretty good critical analysis of the play that we had all seen the night before. It's too bad that the organization of my thoughts was lacking. I have trouble focusing, you see.
I'm working on it.
A few of us had known Mark before, and therefore, had many good-time stories to share about him. He was definitely a lot of fun, and we got more entertainment out of him that I thought we would get from any other member of the faculty. I will always remember the night where a few of us dined together at the Radisson.
I'm still waiting for the ghost story that he promised to tell us when we were all gathered together outside of class. It was too long to tell at the "non-fire" and it was too long to tell at the barbeque, but I'm still waiting.
Perhaps he'll publish it one day. Now that I think of it, his avoidance may have been to save for profit what he could have given us for free.
Mark, you sneaky devil!
Mark Charney was our administrator at the Eugene O'Neill Theater Center. He collected our assignments every morning at 8:15am, and lambasted us gently (if such a thing could be done gently) when we submitted them a minute or so after the deadline. He was in charge of getting copies made of our odious, I mean outstanding, reviews.
One day when I was at my personal worst, he served as one of our mentors. Our homework was to use five adjectives in our whole review. Not only did I exceed the number by four or so, but I also managed to be a bit incoherent. Mark did have one nice thing to say. He said, and I concur, that I had done some pretty good critical analysis of the play that we had all seen the night before. It's too bad that the organization of my thoughts was lacking. I have trouble focusing, you see.
I'm working on it.
A few of us had known Mark before, and therefore, had many good-time stories to share about him. He was definitely a lot of fun, and we got more entertainment out of him that I thought we would get from any other member of the faculty. I will always remember the night where a few of us dined together at the Radisson.
I'm still waiting for the ghost story that he promised to tell us when we were all gathered together outside of class. It was too long to tell at the "non-fire" and it was too long to tell at the barbeque, but I'm still waiting.
Perhaps he'll publish it one day. Now that I think of it, his avoidance may have been to save for profit what he could have given us for free.
Mark, you sneaky devil!
Tuesday, July 21, 2009
The 2009 nominees for the NYIT Awards are in...
The drinks were flowing and there was plenty of good cheer and support to spread around at the 2009 New York Innovative Theatre Awards Nomination Party last night. Held at Demo Hall at 25 Carmine Street, the 5th anniversary of the NYIT Awards was celebrated with sangria, cool raffle prizes, and miniature pastries if you were lucky enough to nab one.
There were theater critics, artists, enthusiasts, publicists, and supporters milling about as the hall filled quickly. Friends reunited with friends, colleagues toasted to one other, and everyone noshed on candy, crudite, cheese and crackers and cake.
Raffle prizes such as tickets for Fuerzabruta, MOMA and L'Oreal products were at hand, but sadly, I didn't have any cash to throw my hat in the ring. ATM machine, anyone?
We were all waiting with baited breath to hear and see via slides who had made the finals......
And then, the wait was over. After all the productions I saw between last year's Awards show and this year's announcement, I was very surprised that I had only seen three of the nominees: The Judgment of Paris, Ragtime and Beowulf-A Thousand Years of Baggage. This extremely low percentage clearly suggests to me that I need to see more shows.
Yeah, no it doesn't.
If the number of shows that I see were measured the way frequent flyer miles are, I would have racked up enough to take several trips around the world by now. Believe it!
What it does suggest is that more off-off Broadway productions need to register for the Awards. Now, get cracking, independent artists!
2009 Nominees
Outstanding Actor in a Featured Role
William Apps IV
Amerissiah
The Amoralists Theatre Company
Nicoye Banks
The High Priestess of Dark Alley
Billie Holiday Theatre
Roy Clary
McReele
Conflict of Interest Theater Company
Clint Morris
Like You Like It
The Gallery Players
Jeffrey Plunkett
All the Rage
Manhattan Theatre Source / Dark Brew Productions
Chris Thorn
Most Damaging Wound
The Production Company
Outstanding Actress in a Featured Role
Ivanna Cullinan
The Granduncle Quadrilogy: Tales from the Land of Ice
Piper McKenzie
Brynn Curry
Like You Like It
The Gallery Players
Phyllis Johnson
Blue Before Morning
terraNOVA Collective
Maura McNamara
The Real Thing
T. Schreiber Studio
Constance Parng
Lee/gendary
HERE Arts Center
Aura Vence
The High Priestess of Dark Alley
Billie Holiday Theatre
Outstanding Actor in a Lead Role
Julian Elfer
Twelfth Night, or What You Will
T. Schreiber Studio
Jaron Farnham
Still the River Runs
Zootopia Theatre Company
Steve French
Still the River Runs,
Zootopia Theatre Company
Jason Howard
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
David Ian Lee
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
August Schulenburg
8 Little Antichrists
Flux Theatre Ensemble
Outstanding Actress in a Lead Role
Katrina Foy
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Soomi Kim
Lee/gendary
HERE Arts Center
Jan Maxwell
Scenes from an Execution
Potomac Theatre Project
Nedra McClyde
Miss Evers' Boys
Red Fern Theatre Company
Kate Middleton
Avow
The Cardinal Group
Elyse Mirto
Any Day Now
Writer's Forum at Manhattan Theatre Source
Outstanding Ensemble
Christopher Borg, Jeffrey Cranor, Kevin R. Free & Eevin Hartsough
(Not) Just A Day Like Any Other
New York Neo-Futurists
Kether Donohue, Phyllis Johnson, Jenny Maguire, Chris McKinney, Flaco Navaja & Jennifer Dorr White
Blue Before Morning
terraNOVA Collective
Bard Goodrich, Ken Matthews, Megan McQuillan, Michael Solomon, Michael Szeles & Chris Thorn
Most Damaging Wound
The Production Company
Laura Butler, Drae Campbell, Dawn Eshelman, Connie Hall, Ikuko Ikari, Hana Kalinski, Eunjee Lee, Mark Lindberg, Alanna Medlock, Jy Murphy, Jorge Alberto Rubio, Maureen Sebastian & Magin Shantz
Oph3lia
HERE Arts Center
Geraldine Bartlett, Brian D. Coats, Katrina Foy, William Jackson Harper, Khris Lewin, Carolyn McCandlish, Joe Mullen, Frank Rodriguez, Christopher Rubin, Jeremy Schwartz, Joe Sullivan & Andrew Zimmerman
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Joe Basile, Jill Beckman, Christopher Borg, Jeffrey Cranor, Cara Francis, Kevin R. Free, Ryan Good, Alicia Harding, Eevin Hartsough, Sarah Levy, Erica Livingston, Jacquelyn Landgraf, Rob Neill, Lauren Parish, Joey Rizzolo & Justin Tolley
Too Much Light Makes the Baby Go Blind
New York Neo-Futurists
Esther Barlow, Jennifer Gordon Thomas, Jason Howard, David Lamberton, David Ian Lee, Michelle O'Connor, Ridley Parson, Nancy Sirianni, Tarantino Smith & Ben Sulzbach
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
Outstanding Solo Performance
Martin Dockery
The Surprise
soloNOVA Arts Festival
Leigh Evans
Traces
soloNOVA Arts Festival
Jeff Grow
Creating Illusion
soloNOVA Arts Festival
Abena Koomson
Cozi Sa Wala: Magic Words
soloNOVA Arts Festival
Micia Mosely
Where My Girls At?
Nursha in association with soloNOVA Arts Festival
Una Aya Osato
Recess
FRIGID Festival
Outstanding Choreography/Movement
Keith Andrews
Like You Like It
The Gallery Players
Edward Elefterion
Shadow of Himself
Rabbit Hole Ensemble
Leigh Evans
Traces
soloNOVA Arts Festival
Soomi Kim & Airon Armstrong
Lee/gendary
HERE Arts Center
Austin McCormick
The Judgment of Paris
Company XIV
Stefanie Smith
The Selfish Giant
Literally Alive Children's Theatre
Outstanding Costume Design
Michelle Beshaw
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Emily Morgan DeAngelis
Angel Eaters
Flux Theatre Ensemble
Olivera Gajic
The Judgment of Paris
Company XIV
Hunter Kaczorowski
Like You Like It
The Gallery Players
Becky Lasky
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Karen Ann Ledger
Twelfth Night, or What You Will
T. Schreiber Studio
Outstanding Lighting Design
Lucrecia Briceno
Lee/gendary
HERE Arts Center
Ian W. Hill
The Granduncle Quadrilogy: Tales from the Land of Ice
Piper McKenzie
Andrew Lu
Still the River Runs
Zootopia Theatre Company
Jennifer Rathbone
Angel Eaters
Flux Theatre Ensemble
Federico Restrepo
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Bruce Steinberg
Blue Before Morning
terraNOVA Collective
Outstanding Sound Design
Dan Bianchi
Dracula
Radiotheatre
Katie Down
Blue Before Morning
terraNOVA Collective
Austin McCormick
The Judgment of Paris
Company XIV
Nick Moore
23 Knives
Resonance Ensemble
Chris Rummel
Twelfth Night, or What You Will,
T. Schreiber Studio
Asa Wember
Angel Eaters
Flux Theatre Ensemble
Outstanding Set Design
George Allison
Twelfth Night, or What You Will,
T. Schreiber Studio
Jim Boutin
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Tristan Jeffers
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Michael P. Kramer
Ragtime
Astoria Performing Arts Center
Caleb Levengood
Angel Eaters
Flux Theatre Ensemble
Blair Mielnik
To Barcelona!
Ignited States Production Company
Outstanding Director
Geordie Broadwater
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Nat Cassidy
Any Day Now
Writer's Forum at Manhattan Theatre Source
Gia Forakis
Blue Before Morning
terraNOVA Collective
Vit Horejs
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Matthew J. Nichols
Still the River Runs
Zootopia Theatre Company
Suzi Takahashi
Lee/gendary
HERE Arts Center
Outstanding Original Music
Drew Cutler
Still the River Runs
Zootopia Theatre Company
Mark Ettinger & Paul Foglino
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Kimmy Gatewood, Andy Hertz, Rebekka Johnson, Sarah Lowe & Jeff Solomon
The Apple Sisters
The Apple Sisters
Gerard Keenan
Angel Eaters
Flux Theatre Ensemble
Dave Malloy
Beowulf - A Thousand Years Of Baggage
Banana Bag & Bodice
Nick Moore
23 Knives
Resonance Ensemble
Outstanding Full-Length Script
Johnna Adams
Angel Eaters
Flux Theatre Ensemble
Derek Ahonen
Amerissiah
The Amoralists Theatre Company
James Carmichael
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Nat Cassidy
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
Kate McGovern
Blue Before Morning
terraNOVA Collective
Mac Rogers
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
Outstanding Original Short Script
Martin Dockery
The Surprise
soloNOVA Arts Festival
Ira Gamerman
Dated: A Cautionary Tale for Facebook UsersElephants on Parade 2009,
EBE Ensemble
Jeff Grow
Creating Illusion
soloNOVA Arts Festival
Kristen Kosmas
The Scandal!
The Management
Kitt Lavoie
[Pwnd]Perceptions, An Evening of One Acts
The Rising Sun Performance Company
Nico Vreeland
The Interview, Elephants on Parade 2009
EBE Ensemble
Outstanding Performance Art Production
Cirque du Quoi?!?
Human Flight Productions, Inc. & Gramily Entertainment
Creating Illusion
soloNOVA Arts Festival
Miss America
LaMaMa ETC in association with Split Britches
Dracula
Radiotheatre
Too Much Light Makes the Baby Go Blind
New York Neo-Futurists
Traces
soloNOVA Arts Festival
Outstanding Production of a Musical
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Like You Like It
The Gallery Players
Ragtime
Astoria Performing Arts Center
The 103rd Annual Performance of Ruddigore, or The Witch's Curse, Presented by Murgatroyd's Hospital for Mental Rehabilitation,Ruddy Gore Maine
Theater 1010
The Apple Sisters
The Apple Sisters
The Who's Tommy
The Gallery Players
Outstanding Production of a Play
Blue Before Morning
terraNOVA Collective
Lee/gendary
HERE Arts Center
Still the River Runs
Zootopia Theatre Company
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Suspicious Package: an interactive noir
The Fifth Wall
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
The New York Innovative Theatre Foundation is celebrating its Fifth Anniversary as a not-for-profit organization, which recognizes the great work of New York's Off-Off-Broadway—honoring its artistic heritage and providing an alliance for this extensive and richly varied community. As advocates for Off-Off-Broadway, they recognize its unique and essential role contributing to global culture. Each season, The New York Innovative Theatre Foundation publicly recognizes excellence in Off-Off-Broadway, with a high-profile awards ceremony. The New York Innovative Theatre Awards celebrate the community and honor some of the previous year’s greatest achievements. The IT Awards heighten audience awareness and foster greater appreciation of the New York theatre experience.
There were theater critics, artists, enthusiasts, publicists, and supporters milling about as the hall filled quickly. Friends reunited with friends, colleagues toasted to one other, and everyone noshed on candy, crudite, cheese and crackers and cake.
Raffle prizes such as tickets for Fuerzabruta, MOMA and L'Oreal products were at hand, but sadly, I didn't have any cash to throw my hat in the ring. ATM machine, anyone?
We were all waiting with baited breath to hear and see via slides who had made the finals......
And then, the wait was over. After all the productions I saw between last year's Awards show and this year's announcement, I was very surprised that I had only seen three of the nominees: The Judgment of Paris, Ragtime and Beowulf-A Thousand Years of Baggage. This extremely low percentage clearly suggests to me that I need to see more shows.
Yeah, no it doesn't.
If the number of shows that I see were measured the way frequent flyer miles are, I would have racked up enough to take several trips around the world by now. Believe it!
What it does suggest is that more off-off Broadway productions need to register for the Awards. Now, get cracking, independent artists!
2009 Nominees
Outstanding Actor in a Featured Role
William Apps IV
Amerissiah
The Amoralists Theatre Company
Nicoye Banks
The High Priestess of Dark Alley
Billie Holiday Theatre
Roy Clary
McReele
Conflict of Interest Theater Company
Clint Morris
Like You Like It
The Gallery Players
Jeffrey Plunkett
All the Rage
Manhattan Theatre Source / Dark Brew Productions
Chris Thorn
Most Damaging Wound
The Production Company
Outstanding Actress in a Featured Role
Ivanna Cullinan
The Granduncle Quadrilogy: Tales from the Land of Ice
Piper McKenzie
Brynn Curry
Like You Like It
The Gallery Players
Phyllis Johnson
Blue Before Morning
terraNOVA Collective
Maura McNamara
The Real Thing
T. Schreiber Studio
Constance Parng
Lee/gendary
HERE Arts Center
Aura Vence
The High Priestess of Dark Alley
Billie Holiday Theatre
Outstanding Actor in a Lead Role
Julian Elfer
Twelfth Night, or What You Will
T. Schreiber Studio
Jaron Farnham
Still the River Runs
Zootopia Theatre Company
Steve French
Still the River Runs,
Zootopia Theatre Company
Jason Howard
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
David Ian Lee
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
August Schulenburg
8 Little Antichrists
Flux Theatre Ensemble
Outstanding Actress in a Lead Role
Katrina Foy
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Soomi Kim
Lee/gendary
HERE Arts Center
Jan Maxwell
Scenes from an Execution
Potomac Theatre Project
Nedra McClyde
Miss Evers' Boys
Red Fern Theatre Company
Kate Middleton
Avow
The Cardinal Group
Elyse Mirto
Any Day Now
Writer's Forum at Manhattan Theatre Source
Outstanding Ensemble
Christopher Borg, Jeffrey Cranor, Kevin R. Free & Eevin Hartsough
(Not) Just A Day Like Any Other
New York Neo-Futurists
Kether Donohue, Phyllis Johnson, Jenny Maguire, Chris McKinney, Flaco Navaja & Jennifer Dorr White
Blue Before Morning
terraNOVA Collective
Bard Goodrich, Ken Matthews, Megan McQuillan, Michael Solomon, Michael Szeles & Chris Thorn
Most Damaging Wound
The Production Company
Laura Butler, Drae Campbell, Dawn Eshelman, Connie Hall, Ikuko Ikari, Hana Kalinski, Eunjee Lee, Mark Lindberg, Alanna Medlock, Jy Murphy, Jorge Alberto Rubio, Maureen Sebastian & Magin Shantz
Oph3lia
HERE Arts Center
Geraldine Bartlett, Brian D. Coats, Katrina Foy, William Jackson Harper, Khris Lewin, Carolyn McCandlish, Joe Mullen, Frank Rodriguez, Christopher Rubin, Jeremy Schwartz, Joe Sullivan & Andrew Zimmerman
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Joe Basile, Jill Beckman, Christopher Borg, Jeffrey Cranor, Cara Francis, Kevin R. Free, Ryan Good, Alicia Harding, Eevin Hartsough, Sarah Levy, Erica Livingston, Jacquelyn Landgraf, Rob Neill, Lauren Parish, Joey Rizzolo & Justin Tolley
Too Much Light Makes the Baby Go Blind
New York Neo-Futurists
Esther Barlow, Jennifer Gordon Thomas, Jason Howard, David Lamberton, David Ian Lee, Michelle O'Connor, Ridley Parson, Nancy Sirianni, Tarantino Smith & Ben Sulzbach
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
Outstanding Solo Performance
Martin Dockery
The Surprise
soloNOVA Arts Festival
Leigh Evans
Traces
soloNOVA Arts Festival
Jeff Grow
Creating Illusion
soloNOVA Arts Festival
Abena Koomson
Cozi Sa Wala: Magic Words
soloNOVA Arts Festival
Micia Mosely
Where My Girls At?
Nursha in association with soloNOVA Arts Festival
Una Aya Osato
Recess
FRIGID Festival
Outstanding Choreography/Movement
Keith Andrews
Like You Like It
The Gallery Players
Edward Elefterion
Shadow of Himself
Rabbit Hole Ensemble
Leigh Evans
Traces
soloNOVA Arts Festival
Soomi Kim & Airon Armstrong
Lee/gendary
HERE Arts Center
Austin McCormick
The Judgment of Paris
Company XIV
Stefanie Smith
The Selfish Giant
Literally Alive Children's Theatre
Outstanding Costume Design
Michelle Beshaw
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Emily Morgan DeAngelis
Angel Eaters
Flux Theatre Ensemble
Olivera Gajic
The Judgment of Paris
Company XIV
Hunter Kaczorowski
Like You Like It
The Gallery Players
Becky Lasky
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Karen Ann Ledger
Twelfth Night, or What You Will
T. Schreiber Studio
Outstanding Lighting Design
Lucrecia Briceno
Lee/gendary
HERE Arts Center
Ian W. Hill
The Granduncle Quadrilogy: Tales from the Land of Ice
Piper McKenzie
Andrew Lu
Still the River Runs
Zootopia Theatre Company
Jennifer Rathbone
Angel Eaters
Flux Theatre Ensemble
Federico Restrepo
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Bruce Steinberg
Blue Before Morning
terraNOVA Collective
Outstanding Sound Design
Dan Bianchi
Dracula
Radiotheatre
Katie Down
Blue Before Morning
terraNOVA Collective
Austin McCormick
The Judgment of Paris
Company XIV
Nick Moore
23 Knives
Resonance Ensemble
Chris Rummel
Twelfth Night, or What You Will,
T. Schreiber Studio
Asa Wember
Angel Eaters
Flux Theatre Ensemble
Outstanding Set Design
George Allison
Twelfth Night, or What You Will,
T. Schreiber Studio
Jim Boutin
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Tristan Jeffers
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Michael P. Kramer
Ragtime
Astoria Performing Arts Center
Caleb Levengood
Angel Eaters
Flux Theatre Ensemble
Blair Mielnik
To Barcelona!
Ignited States Production Company
Outstanding Director
Geordie Broadwater
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Nat Cassidy
Any Day Now
Writer's Forum at Manhattan Theatre Source
Gia Forakis
Blue Before Morning
terraNOVA Collective
Vit Horejs
The Very Sad Story of Ethel & Julius, Lovers and Spyes and about Their Untymelie End while Sitting in a Small Room at the Correctional Facility in Ossining, N.Y.
GOH Productions
Matthew J. Nichols
Still the River Runs
Zootopia Theatre Company
Suzi Takahashi
Lee/gendary
HERE Arts Center
Outstanding Original Music
Drew Cutler
Still the River Runs
Zootopia Theatre Company
Mark Ettinger & Paul Foglino
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Kimmy Gatewood, Andy Hertz, Rebekka Johnson, Sarah Lowe & Jeff Solomon
The Apple Sisters
The Apple Sisters
Gerard Keenan
Angel Eaters
Flux Theatre Ensemble
Dave Malloy
Beowulf - A Thousand Years Of Baggage
Banana Bag & Bodice
Nick Moore
23 Knives
Resonance Ensemble
Outstanding Full-Length Script
Johnna Adams
Angel Eaters
Flux Theatre Ensemble
Derek Ahonen
Amerissiah
The Amoralists Theatre Company
James Carmichael
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Nat Cassidy
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
Kate McGovern
Blue Before Morning
terraNOVA Collective
Mac Rogers
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
Outstanding Original Short Script
Martin Dockery
The Surprise
soloNOVA Arts Festival
Ira Gamerman
Dated: A Cautionary Tale for Facebook UsersElephants on Parade 2009,
EBE Ensemble
Jeff Grow
Creating Illusion
soloNOVA Arts Festival
Kristen Kosmas
The Scandal!
The Management
Kitt Lavoie
[Pwnd]Perceptions, An Evening of One Acts
The Rising Sun Performance Company
Nico Vreeland
The Interview, Elephants on Parade 2009
EBE Ensemble
Outstanding Performance Art Production
Cirque du Quoi?!?
Human Flight Productions, Inc. & Gramily Entertainment
Creating Illusion
soloNOVA Arts Festival
Miss America
LaMaMa ETC in association with Split Britches
Dracula
Radiotheatre
Too Much Light Makes the Baby Go Blind
New York Neo-Futurists
Traces
soloNOVA Arts Festival
Outstanding Production of a Musical
Coming, Aphrodite!
LaMaMa ETC in association with Watson Arts
Like You Like It
The Gallery Players
Ragtime
Astoria Performing Arts Center
The 103rd Annual Performance of Ruddigore, or The Witch's Curse, Presented by Murgatroyd's Hospital for Mental Rehabilitation,Ruddy Gore Maine
Theater 1010
The Apple Sisters
The Apple Sisters
The Who's Tommy
The Gallery Players
Outstanding Production of a Play
Blue Before Morning
terraNOVA Collective
Lee/gendary
HERE Arts Center
Still the River Runs
Zootopia Theatre Company
Stomp and Shout (an' Work it All Out)
Babel Theatre Project
Suspicious Package: an interactive noir
The Fifth Wall
The Reckoning of Kit & Little Boots
The Gallery Players in association with Engine37
Universal Robots
Manhattan Theatre Source/Dark Brew Productions
The New York Innovative Theatre Foundation is celebrating its Fifth Anniversary as a not-for-profit organization, which recognizes the great work of New York's Off-Off-Broadway—honoring its artistic heritage and providing an alliance for this extensive and richly varied community. As advocates for Off-Off-Broadway, they recognize its unique and essential role contributing to global culture. Each season, The New York Innovative Theatre Foundation publicly recognizes excellence in Off-Off-Broadway, with a high-profile awards ceremony. The New York Innovative Theatre Awards celebrate the community and honor some of the previous year’s greatest achievements. The IT Awards heighten audience awareness and foster greater appreciation of the New York theatre experience.
Sunday, July 19, 2009
First Impressions: Linda Winer
Linda Winer is a tour-de-force.
The second time I met her, she was already waiting at the picnic table in The Sunken Garden, where the critic seminars are typically held. I was very excited to get acquainted with Linda as she is one of the very few and gainfully employed female critics in New York. I have to give her the respect that she deserves for accomplishing such a feat in an industry that's pretty hard to get into and stay into.
She did not disappoint.
Here was this vivacious, whip-smart lady with a warm disposition and smile. She talked to us about how she started in journalism and the roads that opened up after that. There was plenty of soaking up happening, as she was pretty frank about her philosophies and why she had them. And after a 40-year career and counting, she came equipped with battle scars and juicy stories. Let's not forget the juicy stories.
But in this case, what went on at the O'Neill will stay at the O'Neill.
The production that we had to review for her was not an easy one. On top of desperately needing editing at the time that I saw it, it was one that did not meet my taste requirements. I was anxious to put good copy in front of her because I cared about what she thought of me. Sometimes, you only get one shot, and I wanted my shot to be nothing but net if I was going to present myself as a future colleague of hers.
Well, it wasn't exactly a swish, but I did manage to impress her with some well-turned phrases like "fresh off the ideals boat" that she thought were very quotable. But the best part of all was when, unprovoked except by my raw (literally) talent, Linda declared that I had a "strong voice."
That was a proud moment for me.
Those words may not get a rise out of you, but for me, along with many fellow writers, it's all about having a strong voice. So if a writer that you admire and respect gives you those kinds of kudos, then it's just as good as any three-pointer. If I had a victory dance, I would have done it.
By the way, I don't know how these basketball references got in here because I don't watch basketball. But that's my metaphor and I'm sticking to it.
I wish she could have stayed longer. As I recall, she was only there for a weekend, but I hope to run into her again.
Linda would not have recalled, but I met her briefly during a taping of Theater Talk's Critics' Cavalcade episode last year. I didn't see any of the Broadway shows in 2008 to have had any kind of input, so I scampered out quickly. But I knew a lot more this year. Perhaps the third time I run into her, I'll be completely knowledgeable. I like that I can associate a learning curve with my Linda run-ins. She's definitely the kind of trailblazer that inspires me to do what I must do to set my own path on fire.
The second time I met her, she was already waiting at the picnic table in The Sunken Garden, where the critic seminars are typically held. I was very excited to get acquainted with Linda as she is one of the very few and gainfully employed female critics in New York. I have to give her the respect that she deserves for accomplishing such a feat in an industry that's pretty hard to get into and stay into.
She did not disappoint.
Here was this vivacious, whip-smart lady with a warm disposition and smile. She talked to us about how she started in journalism and the roads that opened up after that. There was plenty of soaking up happening, as she was pretty frank about her philosophies and why she had them. And after a 40-year career and counting, she came equipped with battle scars and juicy stories. Let's not forget the juicy stories.
But in this case, what went on at the O'Neill will stay at the O'Neill.
The production that we had to review for her was not an easy one. On top of desperately needing editing at the time that I saw it, it was one that did not meet my taste requirements. I was anxious to put good copy in front of her because I cared about what she thought of me. Sometimes, you only get one shot, and I wanted my shot to be nothing but net if I was going to present myself as a future colleague of hers.
Well, it wasn't exactly a swish, but I did manage to impress her with some well-turned phrases like "fresh off the ideals boat" that she thought were very quotable. But the best part of all was when, unprovoked except by my raw (literally) talent, Linda declared that I had a "strong voice."
That was a proud moment for me.
Those words may not get a rise out of you, but for me, along with many fellow writers, it's all about having a strong voice. So if a writer that you admire and respect gives you those kinds of kudos, then it's just as good as any three-pointer. If I had a victory dance, I would have done it.
By the way, I don't know how these basketball references got in here because I don't watch basketball. But that's my metaphor and I'm sticking to it.
I wish she could have stayed longer. As I recall, she was only there for a weekend, but I hope to run into her again.
Linda would not have recalled, but I met her briefly during a taping of Theater Talk's Critics' Cavalcade episode last year. I didn't see any of the Broadway shows in 2008 to have had any kind of input, so I scampered out quickly. But I knew a lot more this year. Perhaps the third time I run into her, I'll be completely knowledgeable. I like that I can associate a learning curve with my Linda run-ins. She's definitely the kind of trailblazer that inspires me to do what I must do to set my own path on fire.
The nominations for the New York Innovative Theatre Awards are a'coming!!
It's the eve of the nomination party for the NYIT awards, and I'm getting pretty excited. You never really know who and what is going to wind up on the ballot. And since I saw my fair share of theater last year, some of my faves are bound to make the cut. I hope.
Of course, I have no reason to doubt it. My induction into the festivities last year left me pretty overjoyed. Plays such as (or actors featured in them) Fight Girl Battle World (Vampire Cowboys Theatre Company), No End of Blame (Potomac Theatre Project), and Elizabeth Rex (Nicu's Spoon) all took home awards, and I was pretty stoked considering that I liked and/or reviewed all of them favorably. The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination (Stolen Chair Theatre Company) also received accolades, and that was nice to see because Dunmore Bad and Good, a play written by yours truly, was produced during its downtime.
Therefore, I'm thinking that this year won't disappoint me either.
I'm expecting bigger things this time, particularly since this is NYIT's 5th year anniversary. Can't wait to see what they roll out tomorrow night to commemorate this landmark event! And as always, off-off Broadway deserves its time in the sun. These artists work hard to crank out theater, and the ones that produce quality work deserve to be recognized. When I look back, there were quite a few things that I hope make the finals. Of course, I don't really know if those shows were registered or even eligible, so I'm going to keep mum about my picks for now. Stay tuned for my thoughts on the ones that make the grade!
Of course, I have no reason to doubt it. My induction into the festivities last year left me pretty overjoyed. Plays such as (or actors featured in them) Fight Girl Battle World (Vampire Cowboys Theatre Company), No End of Blame (Potomac Theatre Project), and Elizabeth Rex (Nicu's Spoon) all took home awards, and I was pretty stoked considering that I liked and/or reviewed all of them favorably. The Accidental Patriot: The Lamentable Tragedy of the Pirate Desmond Connelly, Irish by Birth, English by Blood, and American by Inclination (Stolen Chair Theatre Company) also received accolades, and that was nice to see because Dunmore Bad and Good, a play written by yours truly, was produced during its downtime.
Therefore, I'm thinking that this year won't disappoint me either.
I'm expecting bigger things this time, particularly since this is NYIT's 5th year anniversary. Can't wait to see what they roll out tomorrow night to commemorate this landmark event! And as always, off-off Broadway deserves its time in the sun. These artists work hard to crank out theater, and the ones that produce quality work deserve to be recognized. When I look back, there were quite a few things that I hope make the finals. Of course, I don't really know if those shows were registered or even eligible, so I'm going to keep mum about my picks for now. Stay tuned for my thoughts on the ones that make the grade!
Thursday, July 16, 2009
First Impressions: J. Wynn Rousuck
I was looking forward to soaking up every drop of wisdom that Judy Rousuck had to offer. Why? Because she was a long-time (23 years, wow!) critic for the Baltimore Sun, and I wanted to know how she had weathered the dips and lifts of the journalism world. Unfortunately, a one-on-one opportunity with her never presented itself, but I was able to learn a thing or ten during class. One of those things involved a tip on longevity: sometimes, you have to learn new ways to exercise your craft.
Judy taught us the ways of radio reviewing.
I don't listen to the radio.
I had never actually considered radio reviewing before, yet I still thought it would be easy to conquer. Given my gregarious disposition and bold personality, I never had a doubt that all of that would translate well over the air waves. I was a Howard Stern fan (back when he was free) after all, and I knew what was music to my ears. Too bad I didn't factor the lack of sleep from the night before, or the fact that said lack of zzzzs would rob me of the time I needed to sound engaging, but not overbearing. Theatrical, but not hammy.
My performance, caught on Lindsay Christians' impressive mp3 recorder, was as Cindy-less as it could be, capturing none of my fabulous flavor. The whole "the way you write should be the way you sound" was not happening at all. By the time I was through, I didn't mention when the show opened, its Broadway history (it was a revival of a popular musical), or how long the running time was. Ah, well. Judy was kind at least. She didn't say much about my work (thank you, feelings-sparer), but I learned a lot about a new medium that she was well-versed in. I might actually end my post-Howard boycott of the radio after all.
Judy taught us the ways of radio reviewing.
I don't listen to the radio.
I had never actually considered radio reviewing before, yet I still thought it would be easy to conquer. Given my gregarious disposition and bold personality, I never had a doubt that all of that would translate well over the air waves. I was a Howard Stern fan (back when he was free) after all, and I knew what was music to my ears. Too bad I didn't factor the lack of sleep from the night before, or the fact that said lack of zzzzs would rob me of the time I needed to sound engaging, but not overbearing. Theatrical, but not hammy.
My performance, caught on Lindsay Christians' impressive mp3 recorder, was as Cindy-less as it could be, capturing none of my fabulous flavor. The whole "the way you write should be the way you sound" was not happening at all. By the time I was through, I didn't mention when the show opened, its Broadway history (it was a revival of a popular musical), or how long the running time was. Ah, well. Judy was kind at least. She didn't say much about my work (thank you, feelings-sparer), but I learned a lot about a new medium that she was well-versed in. I might actually end my post-Howard boycott of the radio after all.
Tuesday, July 14, 2009
First Impressions: Dominic Papatola
Welcome to my first installment of First Impressions: a brief look at not only what the mentors at the O'Neill thought of me, but also what I thought of them. The first critic that I met there was Dominic Papatola.
"I can see that you're the troublemaker."
It didn't take long for Dominic, a fun character with wicked smarts, to brand me the jokester of the group, although I still can't figure out what I did to earn that title. There were others there that I thought beat me by a mile, but I wasn't going to let him down. I think that I subconsciously went about at least proving him half-right. I mean, what else would make me, in a review of a show that I saw there, make the connection between gin (that was really Jack Daniels, I later found out) and Eli Whitney, the cotton gin inventor?
Yeah, I knew that I was stretching it as far as Mr. Fantastic with that one, but I couldn't help myself. The play was one of those abstract, what the heezie, what Dominic likes to call "sea monsters" that was challenging to decipher. Sometimes I like to make sense of things no matter how crazy my ideas are. No one can say that I'm not gutsy, though. After all, I might have been at least in the ballpark. Who knew what that playwright was thinking? If anything, it did make for some interesting conversation the next morning, and many professional productions can't even achieve that.
The best part of all? I made Dominic Papatola smile. He said "clever, but don't ever, ever, ever do that again!" Well, in the grand scheme of things, crazy but clever is not a bad compliment.
"I can see that you're the troublemaker."
It didn't take long for Dominic, a fun character with wicked smarts, to brand me the jokester of the group, although I still can't figure out what I did to earn that title. There were others there that I thought beat me by a mile, but I wasn't going to let him down. I think that I subconsciously went about at least proving him half-right. I mean, what else would make me, in a review of a show that I saw there, make the connection between gin (that was really Jack Daniels, I later found out) and Eli Whitney, the cotton gin inventor?
Yeah, I knew that I was stretching it as far as Mr. Fantastic with that one, but I couldn't help myself. The play was one of those abstract, what the heezie, what Dominic likes to call "sea monsters" that was challenging to decipher. Sometimes I like to make sense of things no matter how crazy my ideas are. No one can say that I'm not gutsy, though. After all, I might have been at least in the ballpark. Who knew what that playwright was thinking? If anything, it did make for some interesting conversation the next morning, and many professional productions can't even achieve that.
The best part of all? I made Dominic Papatola smile. He said "clever, but don't ever, ever, ever do that again!" Well, in the grand scheme of things, crazy but clever is not a bad compliment.
Monday, July 13, 2009
Back on the scene again!
It's been almost a year, but I'm back! Tons of things have happened, some did not, but it will take a while for me to unpack everything for you. Bear with me! Today is my first day back in NY. I have to say that I could have done without the infestation of.... Oh, right, those are people. Sometimes I just can't tell.
I was at the Eugene O'Neill Critics Institute for two weeks, where I sat down with a bunch of hot shots, both mentors and peers, in the journalism world. For those of you who don't know, I don't have a background in journalism, so I learned a lot from folks who did it and are doing it the right way. My background is in dramatic writing. Dramatic writing is, in my situation, playwriting in NYU speak. While I'm churning out plays that will one day make me the most feared and loved dramatist with a keyboard, I also like to talk about it. Why? Because I'm passionate about what's going on in theater! If I can have a hand in improving a show, I'll gladly take it.
How much do I love theater, you ask? Let's put it this way. I believe that Michael Jackson and Lionel Richie's song "We are the World" could easily apply to critics. Say, if I were to customize some of the lyrics to fit our purpose, they would go something like this:
We are the world, we are the critics
We are the ones who'll guide you to a play
With analytics
Theres a choice we're making
So pay us a good wage
Its true we're fighting for the stage
Just you and me
I think this song could use some updating. Too bad the gloved one can't do it. Sorrrry, Michael.
Big up to Michael Feingold, Judy Rousuck, Mark Blankenship, Leonard Jacobs, Julius Novick, Dominic Papatola, Andy Propst, J. Ranelli and Linda Winer for the writing tips and guidance that will hopefully turn myself and the seven other critic fellows that were there into fantastic writers. Boy, do I have a lot to say about everyone who was there! Stay tuned for the details...
I was at the Eugene O'Neill Critics Institute for two weeks, where I sat down with a bunch of hot shots, both mentors and peers, in the journalism world. For those of you who don't know, I don't have a background in journalism, so I learned a lot from folks who did it and are doing it the right way. My background is in dramatic writing. Dramatic writing is, in my situation, playwriting in NYU speak. While I'm churning out plays that will one day make me the most feared and loved dramatist with a keyboard, I also like to talk about it. Why? Because I'm passionate about what's going on in theater! If I can have a hand in improving a show, I'll gladly take it.
How much do I love theater, you ask? Let's put it this way. I believe that Michael Jackson and Lionel Richie's song "We are the World" could easily apply to critics. Say, if I were to customize some of the lyrics to fit our purpose, they would go something like this:
We are the world, we are the critics
We are the ones who'll guide you to a play
With analytics
Theres a choice we're making
So pay us a good wage
Its true we're fighting for the stage
Just you and me
I think this song could use some updating. Too bad the gloved one can't do it. Sorrrry, Michael.
Big up to Michael Feingold, Judy Rousuck, Mark Blankenship, Leonard Jacobs, Julius Novick, Dominic Papatola, Andy Propst, J. Ranelli and Linda Winer for the writing tips and guidance that will hopefully turn myself and the seven other critic fellows that were there into fantastic writers. Boy, do I have a lot to say about everyone who was there! Stay tuned for the details...
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